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FILM REVIEW: Glass

NNPA NEWSWIRE — Two hours and nine minutes roll by, and the film is about as frustrating as standing in a TSA line at the airport. Fault the strained writing. Blame the lifeless direction.

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By Dwight Brown NNPA News Wire Film Critic

Bruce Willis as David Dunn/The Overseer in “Glass,” written and directed by M. Night Shyamalan.

After viewing Glass, there will be a great debate: Should M. Night Shyamalan stop writing scripts for his films? Should he refrain from directing them? Or maybe both!

Remember The Sixth Sense? Slow, odd movie with a very shocking ending? Shyamalan has gone back to that drawing board and sketched in a hybrid movie that pulls together plotlines from two of his previous films. Unbreakable from the year 2000: David Dunn (Bruce Willis), a security guard, is involved in a catastrophic train accident that kills all onboard, except him. A stranger, Elijah Prince (Samuel L. Jackson), aka Mr. Glass, swears the event was Dunn’s destiny. Split in 2016: Kevin Wendell Crumb (James McAvoy), an evil man with super strength and 23 personalities, kidnaps three girls. The most venomous of his inner demons, The Beast, is vile beyond redemption.

Fast forward to 2019, Philadelphia, PA., Dunn is a street vigilante with inordinate power and becomes clairvoyant when he brushes up against people. He wears a hooded raincoat to hide his identity as he stalks and annihilates criminals who prey on innocent victims. Cops hunt him. His son Joseph (Spencer Treat Clark) supports his efforts.

Prince, a supervillain mastermind with a genetic disorder that leaves his bones so brittle they break like potato chips, is a patient/captive at the Raven Hill Memorial Psychiatric Research Hospital. Crumb? Well he has kidnapped four high school cheerleaders and is toying with them as he summons up the devil inside for a massive slaughter. After some fights, brawls and power struggles, all three wind up at Raven Hill, under the supervision of Dr. Ellie Staple (Sarah Paulson), a psychiatrist who specializes in delusional behavior particularly with people who believe they have super powers.

James McAvoy as The Beast, one of the 23 personalities that reside inside Kevin Wendell Crumb in “Glass,” written and directed by M. Night Shyamalan.

Shyamalan combines the two previous storylines but never ups the ante. The theme in this new venture explores people who have extraordinary abilities and use them for good or evil, a subject that is only mildly intriguing. Instead of making this premise a source of inspiration, his very clunky, heavy-handed script belabors the point. At some juncture, audiences won’t welcome that silly unfulfilling thought patter. Dunn says: “You can’t explain everything away.”

Then there’s the very illogical plot pieces and improbable events that lead to a surprising but limp conclusion. It’s dumb for Dr. Staple to put the three very combustible oddballs in the same facility. Dumber still to allow her staff easy access to their highly secured cells/rooms. Employees hand deliver meals to the devious patients, fraternize and make small talk. They don’t sense impending danger. Also, if the three volatile men are in a true high-security facility, escaping would not be a cakewalk and pushing a panic alarm button would be the first line of defense not the last one.

The overwritten script plods along at a snail’s pace. The first one hour and fifteen minutes is tedious enough to cause a group eye roll. Sloppy indecisive editing (Luke Ciarrocchi and Blu Murray) stymies any rhythm. Shyamalan’s spotty unimaginative direction and Mike Gioulakis’ dull cinematography make fight scenes a snore. None of the action is filmed from an interesting angle and the camera’s placement is often quite awkward. Scenes build to a finale where the audience expects a cataclysmic, visually arresting orgy of a battle. But there is none. Compare the style, direction, cinematography and special effects of The Avengers series, Wonder Woman, The Dark Knight, Deadpool and Black Panther to that in Glass, and the latter’s execution looks even more pitiful.

(from left) Samuel L. Jackson as Elijah Price/Mr. Glass and James McAvoy as Kevin Wendell Crumb/The Horde in “Glass,” written and directed by M. Night Shyamalan.

The three freaks are not all that engaging. Dunn is on the side of good, but with that constant scowl on Bruce Willis’ face, he is a buzzkill. Samuel L. Jackson acts like Samuel L. Jackson: He’s never met a piece of scenery he couldn’t chew up. The most curious performance is that of James McAvoy as the bizarre dude with freaky personalities. McAvoy shifts through them as smoothly as a Porsche gearbox going from park to neutral to drive, to turbo. Each character is distinct: the child, the woman, the hipster and the demon god from hell. McAvoy tries hard, but the direction doesn’t compliment his performance and his scenes drag on too long.

Paulson walks around comatose and is asked to say dumb things and disregard the way a real shrink would deal with patients. Even though what she is doing is a complete ruse, her Dr. Staples doesn’t act accordingly. Anya Taylor-Joy as a former Crumb victim and Charlayne Woodard as Price’s mom fill out the supporting cast without much conviction.

Two hours and nine minutes roll by, and the film is about as frustrating as standing in a TSA line at the airport. Fault the strained writing. Blame the lifeless direction. Question the injudicious editing. Abhor the clumsy cinematography. Condemn that lack of “wow” power special effects and dazzling action scenes.

Glass might cause a stir at Comic Con. Other audiences will likely scratch their heads in unison and hope they don’t get trampled as viewers stampede towards the exits.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

Black History

Oakland Observes Black August with Block Parties, Film Showings, Workshops

POST NEWS GROUP — Beginning in 1979 in San Quentin State Prison, the Black Guerrilla Family called for the remembrance of political prisoner George Jackson and his brother Jonathan Jackson who were assassinated in the early 1970s. George Jackson was considered a political prisoner in that it was the anti-Black justice system that led to his incarceration for armed robbery with a sentence of one year-to-life in 1960.

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George Jackson wrote two books: “Soledad Brother,” and “Blood in My Eye” before her was killed in an attempt to escape prison on Aug. 21, 1971.

Study. Train. Fast. Fight.

These are the four tenets of Black August, a month dedicated to commemorating the sacrifices of political prisoners and Black revolutionaries in the struggle for Black liberation.

Observers are urged to study the history of the Black struggle for freedom, train their bodies for health and self-defense, fast to cleanse the mind, body, and spirit, and fight ongoing oppression alongside their communities and local political organizations.

Beginning in 1979 in San Quentin State Prison, the Black Guerrilla Family called for the remembrance of political prisoner George Jackson and his brother Jonathan Jackson who were assassinated in the early 1970s. George Jackson was considered a political prisoner in that it was the anti-Black justice system that led to his incarceration for armed robbery with a sentence of one year-to-life in 1960.

While in prison, George befriended fellow prisoner W.L. Nolen, who introduced him to the works of Karl Marx, Vladimir Lenin, Mao Zedong, and Frantz Fanon. This radicalization coupled with his experiences of violence while imprisoned led to him writing and publishing two books, “Soledad Brother” (1970), and “Blood in my Eye” (1972). In January of 1970, George and two other prisoners were charged with murdering a corrections officer at Soledad State Prison in Monterey County.

On Aug. 7, 1970, Jonathan Jackson burst into a Marin County courtroom armed with a shotgun to demand the freedom of the Soledad Brothers. He, along with the inmates he freed, was shot and killed while driving away. This involved one of the Black Panther Party’s most notable associates, Angela Davis, because the shotgun was registered in her name. She was later acquitted of charges of conspiracy, kidnapping, and murder in 1972.

On Aug. 21, 1971, George Jackson was assassinated by a corrections officer after attempting to escape and free other inmates. As a result, there were uprisings and protests within prisons all over the country that year, calling forth resistance against racial oppression and mass incarceration.

Since its outset, Black August has evolved across the country, taking many forms to honor this history and embody the four tenets.

In Oakland, the upcoming Black August Experience, hosted by Youth Alive! and the East Oakland Boxing Association (EOBA), is a free, family-friendly event celebrating the legacy of Black August. Activities include free food and drinks, a kids’ activity zone, interactive workshops, live cooking and boxing demonstrations, and more.

Happening on Aug. 21 from 4-8 p.m. at the EOBA Patio, Carolyn Flynn, director of administration at EOBA, said the event, in its second year, will be an opportunity to engage with people in person through food, shared space, and education.

“We do regular classes in education, and those are ongoing programs that we offer, but we wanted to have [an opportunity] for our neighbors to utilize this space.” Combined with Youth Alive’s work in community violence prevention and youth leadership, this event surely aims to bring the Oakland community together to capture what Black August means today.

Here are additional Black August events happening in Oakland:

Forum and Community Discussion hosted by the Oakland Liberation Center, 1499 Fruitvale Ave., Aug. 14, 7 p.m.

“George Jackson/San Quentin” Screening hosted by Nostalgic for Nothing Cinema at Moments Co-Op, 410 13th St., Aug. 16, doors at 6 p.m., show at 6:30 p.m. (Masks required and scent-free)

Commemorating the Struggle, Building the Altar for Liberation: Black August at Bandung Books, 2269 International Blvd., Aug. 23rd, 1-5 p.m.

Building Opportunities for Self-Sufficiency (BOSS), will host “Black August: The Arc of Liberation” at Oakland City Hall on Sat. Aug. 29, from 11 a.m. to 3 p.m.

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Activism

Oakland Post: Week of August 12 – 18, 2026

The printed Weekly Edition of the Oakland Post: Week of August 12 – 18, 2026

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Commentary

COMMENTARY: Why Local School Tax Measure G1 Will Not Be on the November Ballot

POST NEWS GROUP — Measure G1 is the local tax measure that supports middle school teacher retention and the expansion of arts, music, and world language programs at both OUSD middle schools and charter middle schools. The current measure expires in 2029.

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iStock.

There has been considerable speculation recently about why Measure G1 will not appear on the November ballot and what that means for the Oakland Unified School District’s current budget.

I want to provide some clarity about what happened and, importantly, what did not happen.

Measure G1 is the local tax measure that supports middle school teacher retention and the expansion of arts, music, and world language programs at both OUSD middle schools and charter middle schools. The current measure expires in 2029.

Because these funds are important to our schools and to the continuity of these programs, the district initially intended to place a renewal initiative on the November ballot to provide greater early certainty about funding beyond the expiration of the current measure.

As part of that process, the Board scheduled a special meeting for the required public hearing on the ballot initiative. There has been some suggestion that this meeting was noticed only one day in advance. That is not accurate.

Public hearings of this nature are subject to specific notice requirements, and the meeting must be noticed at least two weeks before the hearing. In practice, the notice may appear even earlier depending on publication schedules. The notice for the Measure G1 public hearing was published in the Tribune on 7/24/2026 and 7/31/2026.

So, why wasn’t the Measure G1 paperwork ultimately filed?

After the Board approved placing the measure on the ballot, the next step required the Alameda County Superintendent of Schools to sign the necessary paperwork before it could be submitted to the Oakland City Clerk.

During that process, Alameda County Superintendent Alysse Castro raised concerns about potential litigation stemming from another court case unrelated to OUSD and about whether proceeding with the measure could expose the district or County to legal challenges. Superintendent Castro’s action is unprecedented and concerning. 

It is important to distinguish between the Board’s decision to pursue Measure G1 and the subsequent procedural and legal issues that arose. The Board did approve moving forward with the measure. The measure did not fail because the Board chose not to support it, nor was the public hearing improperly noticed.

The decision not to proceed with the November ballot was made in light of the County’s concerns about potential litigation and the County’s required approval process.

We also need to be clear about what this does, and does not, mean for OUSD’s current budget. The existing Measure G1 funds remain available through the expiration of the current measure in 2029. The immediate issue is the longer-term continuity of funding beyond that date, not the elimination of these resources from the current year’s budget.

Our responsibility as a Board is to protect the educational programs and services our students depend on while ensuring that our decisions comply with the law and protect the district from unnecessary legal and financial risk.

We will continue working to understand the County’s concerns, explore our options, and advocate for the resources our students deserve. Our middle school students, teachers, and school communities deserve stability, and continued investment in arts, music, world languages, and teacher retention—and that work remains a priority for Oakland Unified.

Jennifer Brouhard is a retired OUSD educator and is the current OUSD School Board President representing District 2.

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